Sunday, December 21, 2014

Christmas Special of Poetic Forms : HAIKU (Week 7, A Repost of week 4)

Poetic Forms : HAIKU (Week 7, A Repost of week 4)
Welcome to the 4th installment of our FEATURE "POETIC FORMS", to get inspired and know the world of different forms of poetry and I am Shashi your host. Every month on the 3rd Wednesday, I will try to give you info about some forms of poetry which has attracted me and inspired me..
This post will also have some interesting example's to inspire you to write some poetry in the form.... so here we go friends with one of the most interesting forms that has kept me captivated for decades

HAIKU .... 

One of the most interesting form of Poetry from Japan, which is all about creating an image within the reader's mind with very few words...

Wish this post inspires you to paint some beautiful images within 17 syllables and in 3 lines.

Go on... read and then post some of your own trial runs, rough drafts or your polished gems of HAIKU. I look forward to reading them and come back to you with my suggestions and my thoughts...

How to Submit Your Poetry?

Add your entry via InLinkz below by clicking on the blue button, and leave a comment in case it is your first time! It would be great if you could link back to us on your blog.

Now without any further delay... here is this year's (Horse for 2014, sheep or goat for 2015)  POETIC FORM "HAIKU" for you to sink your creative teeth in and let your words flow....

Classic Haiku
Haiku are short, brilliantly vivid poems containing visually complete descriptions of moments in a poet’s experience. In the space of their original 17 Japanese syllables, haiku express worlds of profound emotion and philosophical insight. Simple on the surface, yet fascinatingly complex on close study, Haiku have universal appeal and the number of languages into which they have been translated testify to this.
Much, though not all, early Japanese poetry was written by nobility, and despite the strict conventions of behaviors imposed on courtiers of the 8thto the 11th centuries, much of their poetry still radiates inspiration and sparkle today.
Nature images, such as cherry blossom, in early Japanese poetry became one of the most characteristic features of the canon. In other poems such as this by the 8th centaury poet Takechi no Kurohito, a note of melancholy suffuses the poet’s vivid perception, and the snapshot of natural beauty is modulated by the suggestion of human activity, a technique often used by Haiku poets many centuries later.
Travelling and lonely, I see beneath a hill
A boat painted with red clay rowing to the other side.
- Kurohito
Murasaki Shikibu, illustration
 Tosa Mitsuoki (17th century)
Writers of the medieval period in Japan, from roughly the 8th to the 13th centuries, produced an enormous literature of love poetry. Most of the poems in Lady Murasaki’s prose classic “The tale of Genji” were short verses of longing, sadness or reminiscence exchanged between friends of lovers. The following verse traded between Prince Genji and the Japanese Empress at the death-bed of Genji’s wife are characteristic. His poem comes first; hers answers:
In the haste we make to leave this world of dew
May there be no time between the first and last.
- Genji
A world of dew before the autumn winds,
Not only theirs, these fragile leaves of grass
Chūnagon Yakamochi by Kanō Tan'yū
The inherent sadness in life’s transient incompleteness is a theme that would preoccupy the great Haiku Poets.
A knowledge of classical poetic tradition represented in the 8th century anthology Man’yoshu and the 10thcentury Kokinshu was indispensable to later poets writing haiku.
The term Waka – a word meaning “Japanese poem” came into use in the 9th century, to minimize the confusion with Chinese Poetry being read and written by educated Japanese people at a time during the T’ang Dynasty when Chinese arts threatened to become overly influential in Japan. It was during this period that Japanese imperial diplomatic and economic ties with Chinawere broken, and consequently Japanese writers were encouraged to pursue more local traditions and genres. Japanese people had been composing Waka for ceremonial occasions long before the advent of a literary culture, and even when writing becomes an established means of discourse, the recitation of Waka remained a public art and means of private communication.
The short form of Waka, later become known as Tanka, which grew to be the most popular poetic vehicle and Haiku developed from it.
The Kokinshu – whose ‘thousands of leaves’ represents the oldest poetic tradition in Japan. It was compiled around 920CE, where the poems are organized according to theme, divided into sections devoted to love and the four seasons. This ordering of topics became prescriptive and for many centuries determined the subjects that were deemed acceptable for study by the professional poets who made a living giving instruction in Haiku writing: the Haiku Masters.
Haiku Rules:
While some Haiku poets claimed a degree of personal freedom, most obeyed decreed compositional rules. First the Haiku consisted of 17 syllables, made of three phrases of five, seven and five syllables. Within this format, the Haiku was generally divided also into two parts standing in contrast or reversal to each other.
A poem might start with a traditional image such as cherry blossom, full moon or dew and then re-focus to a lower perhaps clashing image. A seasonal word (Kigo) was another prescriptive component of Haiku. Other rules underlined the subtler aspects of Haiku. If classical correctness could be ‘lowered’ to let in descriptions of ordinary life, it was, said Basho, important to ‘correct’ the ordinary, imbuing it with poetic exaltation (Fuga). In turn Fuga has to be used to express important ideas: the spiritual wealth within modest and simple things (Wabi); beauty, mystery and elegance (Yugen) as in the example below
Stillness and solitude –
Sinking into stones,
The trill of cicadas
- Basho
And melancholy sadness and tranquility (Sabi and Shori)
On a withered branch
A crow has settled.
Nightfall in autumn.
- Basho
Or in the spirit of poetic madness (Fukyo)
Let me show you,
You market people,
This hat filled with snow.
- Basho
And sometimes in shockingly comic ‘lightness’ (Karumi)
A bush warbler
Leaves its droppings on the rice cake
At the edge of the verandah.
Emphasizing the shift in tone, a cutting word (Kireji) usually sits at the end of one of the phrases. The cutting word was often a semantically meaningless sentence-ending particle such as kana, ka, ya, heri or ran. Such word sounds did not themselves contribute meaning but acted both to divide the poem into two rhythmic halves and to set up a contrast between the two poem’s parts. A seasonal word Kigo was another prescriptive component of Haiku. Early classical literature contained a huge vocabulary of words that implied not only a season but an emotion appropriate to it. Spring, with its mood of optimism, was implied by cherry blossom and certain birds. The bright but often fatiguing summer was often suggested by flower and tree words. Autumn melancholy was expressed by ‘lonely’ images, such as a full moon, wind and dying leaves. Cold words like snow alluded to the hard experience of winter. Poets writing in the spirit of haikai added less refined seasonal words: Dandelion, garlic, horseradish and mating cats all connoted spring for example.
Some of the times, Haiku also shows of an acceptance of the life’s impermanence. The most famous Haiku Master Basho’s haiku some times also demonstrates the genuine Buddhist enlightenment. The following very famous Haiku by the most famous Haiku Master Basho expresses most vividly the truth – the enactment of both, the phenomenon, what is and its passing. In this Haiku, a creature living unconsciously, according to its nature, is shown in the context of the man made artifice of an old garden pond, highlighting the simple bare and eternally ordinary ‘is-ness’ of all existence in the present moment:
Old pond
A frog jumps in,
The sound of water
The Milestones…
After Basho, there have been many great poets who took Haiku to the greater heights …
The bite of my axe.
Sudden revelation –
There is life in this tree!
As Buson accepts his death quietly in this farewell poem
White plum blossoms,
Night turns to dawn –
The time has come

Kobayashi Issa
Alone among the shady bushes
A girl is singing
A rice planter's song
Masaoka Shiki
A river in summer
There’s a bridge here, but
My horse prefers water
With useless authority
The great horned owl
Sits moon-eyed in daylight
I envy the tomcat:
How easily he lets go of
Love’s pain and longing
The child cries at her breast.
And the mosquito also bites
The sleeping mother
With ink-stained lips,
The boy leaves his poem
For the cool outdoors

For further reading and my personal journey in knowing and embracing Haiku, please check out my blog feature @ Haiku – The essence of a poetic moment

Now Join in with Linkz below to share, to read some great talents and get inspired...
 नमः शिवाय
Om Namah Shivaya
Text and Image Sources: Tom Lowenstein’s Classic Haiku and Wikipedia

Greetings from The Purple Treehouse, 
We redo Shashi's Haiku Form  post so that you can submit  
to our site, in celebrating Christmas and New Year of 2014-2015, Have Fun! 

Friday, October 31, 2014

How Halloween Works: Halloween Passes Us By written by Alice Mae


Each nose is twitching, excitement is itching
Bats in our belfry are shy
The hour of witching is rather bewitching
Halloween will soon pass us by

Dressed as a witch, in a pin and a stitch
Hoping to fly over the sky
Inspired with fun, Halloween has begun
But soon it will pass us on by

The flying broom skips out of the room
Where black birds catch up on the fly
Owls run away when sun breaks the day
Before Halloween passes us by

Scarecrows and witches with patches on britches
Wild corn grown hang on the husk
Children all happy in costumes so snappy
With parties and dress up's till dusk

Boil and bubble a pot of fun trouble
Halloween pumpkin pie
From out of the rubble, excitement will double
Before Halloween passes on by 
PS:Traditions For Halloween from online

Although Halloween began as a holiday for individuals who practiced the occult, it has since turned into something completely different. Halloween has really become all about the kids. It is about the fun of dressing up and pretending to be someone else for a night. It is about children gorging themselves on way too much candy. Unfortunately, there is also a sinister aspect to the holiday that has to do with children believing that they are entitled to received candy and vandalizing property when they don't get what they want.

Sunday, October 5, 2014

October Spirits


October Is Disability, Diversity, Mental Health Awareness Month,
Help people learn about how to avoid the sadness by handing out information
to newly married or expecting couples, or go to places 
where you can meet disabled individuals and 
know what they think or do to fulfill their life...
Also, organize concerts, seminars, or book readings to 
relevant groups to 
show your love and knowledge in these issues...
Happy October!

Friday, July 4, 2014

Chicago Symphony Orchestra


From Wikipedia, the free encyclopedia
Chicago Symphony Orchestra (CSO)
Chicago Symphony Orchestra 2005.jpg
Chicago Symphony Orchestra performing Gershwin's Rhapsody in Blue at Symphony Center, 2005
Former name Chicago Orchestra
Founded 1891
Concert hall Orchestra Hall, Symphony Center
Principal conductor Riccardo Muti
The Chicago Symphony Orchestra (CSO) is an American orchestra based in Chicago, Illinois. It is one of the five American orchestras commonly referred to as the "Big Five".[1] Founded in 1891, the Symphony makes its home at Orchestra Hall in Chicago and plays a summer season at the Ravinia Festival. The music director is Riccardo Muti, who began his tenure in 2010.


In 1891 Charles Norman Fay, a Chicago businessman, invited Theodore Thomas to establish an orchestra in Chicago. Conducted by Theodore Thomas under the name "Chicago Orchestra", the Orchestra played its first concert October 16, 1891 at the Auditorium Theatre. It is one of the oldest orchestras in the United States, along with the New York Philharmonic, the Boston Symphony Orchestra and the Saint Louis Symphony Orchestra.
Orchestra Hall, now a component of the Symphony Center complex, was designed by Chicago architect Daniel H. Burnham and completed in 1904. Maestro Thomas served as music director for thirteen years until his death shortly after the orchestra's newly built residence was dedicated December 14, 1904. The orchestra was renamed "Theodore Thomas Orchestra" in 1905 and today, Orchestra Hall still has "Theodore Thomas Orchestra Hall" inscribed in its façade.
In 1905, Frederick Stock became music director, a post he held until his death in 1942. The Orchestra was renamed "Chicago Symphony Orchestra" in 1913.
Subsequent music directors have included Désiré Defauw, Artur Rodziński, Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, Daniel Barenboim and Riccardo Muti.
Maestro Barenboim resigned from his post in 2006 in order to focus on his career in Europe with the Staatskapelle Berlin orchestra and the Staatsoper Unter den Linden opera company, La Scala in Milan, and also with the West-Eastern Divan Orchestra, which he co-founded. Barenboim's final concerts leading the Chicago Symphony Orchestra took place on June 15–17, 2006. On April 27, 2006, the orchestra named Bernard Haitink as principal conductor and Pierre Boulez to the post of conductor emeritus "while [the] music director search continues."[2] These appointments began in the 2006–2007 season.
On May 5, 2008, Chicago Symphony Orchestra Association President Deborah Rutter announced that the orchestra had named Riccardo Muti as its 10th music director, starting with the 2010–2011 season, for an initial contract of 5 years.[3]
The Orchestra has also hosted many distinguished guest conductors, including Leonard Bernstein, Aaron Copland, Edward Elgar, Morton Gould, Walter Hendl, Erich Kunzel, Erich Leinsdorf, Charles Munch, Eugene Ormandy, André Previn, Sergei Prokofiev, Sergei Rachmaninoff, Maurice Ravel, Arnold Schoenberg, Leonard Slatkin, Leopold Stokowski, Richard Strauss, George Szell, Michael Tilson Thomas, Bruno Walter, and John Williams. Many of these guests have also recorded with the orchestra.
The three most frequent guest conductors of the Orchestra have been Carlo Maria Giulini, Claudio Abbado, and Pierre Boulez.
Music performed by the Orchestra has been heard in movies, including Casino conducted by Sir Georg Solti and Fantasia 2000 conducted by James Levine.
The Chicago Symphony holds an annual fundraiser, originally known as the Chicago Symphony Marathon, more recently as "Radiothon" and "Symphonython", in conjunction with Chicago radio station WFMT. As part of the event, from 1986 through 2008, the Orchestra released tracks from their broadcast archives on double LP/CD collections, as well as two larger sets of broadcasts and rarities (CSO: The First 100 Years, 12 CDs, 1991; CSO in the 20th Century: Collector's Choice, 10 CDs, 2000).
Beginning September 22, 2012, the musicians of the orchestra staged a labor strike, citing a breakdown in negotiations over their labor contract.[4] The strike lasted only 48 hours and a new contract was ratified by the musicians shortly thereafter on September 25, 2012.[5]

Ravinia Festival

The Chicago Symphony Orchestra maintains a summer home at Ravinia in Highland Park, Illinois. The Orchestra first performed there during Ravinia Park's second season in November 1905 and continued to appear there on and off through August 1931, after which the Park fell dark due to the Great Depression. The Orchestra helped to inaugurate the first season of the Ravinia Festival in August 1936 and has been in residence at the Festival every summer since.
Many conductors have made their debut with the Chicago Symphony at Ravinia, and several have gone on to become the artistic director, or primary summertime guest conductor at Ravinia, including Seiji Ozawa (1964–1968), James Levine (1973–1993), and Christoph Eschenbach (1995–2003). As of 2005, James Conlon holds the title of Ravinia music director.

Orchestra Hall Chicago


The Chicago Symphony has amassed an extensive discography. Recordings by the CSO have earned 62 Grammy Awards from the National Academy of Recording Arts and Sciences. These include several Classical Album of the Year awards, awards in Best Classical Performance in vocal soloist, choral, instrumental, engineering and orchestral categories.
On May 1, 1916, Frederick Stock and the orchestra recorded the Wedding March from Felix Mendelssohn's music to A Midsummer Night's Dream for what was then known as the Columbia Graphophone Company. Stock and the CSO made numerous recordings for Columbia Records and the Victor Talking Machine Company, renamed RCA Victor in 1929. The Chicago Symphony's first non-acoustic electrical recordings were made for Victor in December 1925, including a performance of Karl Goldmark's In Springtime overture. These early electrical recordings were made in Victor's Chicago studios; within a couple of years Victor began recording the CSO in Orchestra Hall. Stock continued recording until 1942, the year he died.
In 1951, Rafael Kubelík made the first modern high fidelity recordings with the orchestra, in Orchestra Hall, for Mercury. Like the very first electrical recordings, these performances were made with a single microphone. Philips has reissued these performances on compact disc with the original Mercury label and liner notes.
In March 1954, Fritz Reiner made the first stereophonic recordings with the CSO, again in Orchestra Hall, for RCA Victor, including performances of two symphonic poems by Richard Strauss: Ein Heldenleben and Also sprach Zarathustra. Reiner and the orchestra continued to record for RCA through 1962. These were mostly recorded in RCA's triple-channel "Living Stereo" process. RCA has digitally remastered the recordings and released them on CD and SACD. Jean Martinon also recorded with the CSO for RCA Victor during the 1960s, producing performances that have been reissued on CD.
Sir Georg Solti recorded with the CSO primarily for Decca Records. These recordings were issued in the U.S. on the London label and include a highly acclaimed Mahler series, recorded, in part, in the historic Medinah Temple -- some installments were recorded in the Krannert Center in the University of Illinois (Urbana, IL), as well as in the Sofiensaal in Vienna, Austria. Many of the recordings with Daniel Barenboim have been released on Teldec.
In 2007, the Chicago Symphony formed its own recording label, CSO Resound. After an agreement was reached with the Orchestra's musicians, arrangements were made for new recordings to be released digitally at online outlets and on compact disc.[6] The first CSO Resound CD, recording Bernard Haitink's rendition of Mahler's Third Symphony, was released in the spring of 2007. The following releases were Bruckner's Seventh symphony conducted by Haitink, Shostakovich's Fifth by Chung, Mahler's Sixth and Shostakovich's Fourth by Haitink.


The Chicago Symphony first broadcast on the radio in 1925. Though often sporadic, there have been broadcasts ever since. With the 1965-1966 season, Chicago radio station WFMT began regular tape-delayed stereo broadcasts of CSO concerts, running through the 1968-1969 season. They resumed from 1976 through the 2000-2001 season before ceasing due to lack of sponsorship. In 2007, the broadcasts once again resumed with a 52-week series. The broadcasts are sponsored by BP and air on 98.7 WFMT in Chicago and the WFMT Radio Network. They consist of 39 weeks of recordings of live concerts, as well as highlights from the CSO's vast discography.[6]
The CSO appeared in a series of telecasts on WGN-TV, beginning in 1953. The early 1960s saw the videotaped telecast series Music from Chicago, conducted by Fritz Reiner and guest conductors including Arthur Fiedler, George Szell, Pierre Monteux, and Charles Münch. Many of these televised concerts, from 1953 to 1963, have since been released to DVD by VAI Distribution.
Georg Solti also conducted a series of concerts with the Chicago Symphony that were broadcast in the 1970s on PBS.

Civic Orchestra of Chicago

Frederick Stock founded the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919. Its goal is to recruit pre-professional musicians and train them as high-level orchestra players. Many alumni have gone on to play for the CSO or other major orchestras.
The Civic Orchestra performs half a dozen orchestral concerts and a chamber music series annually in Symphony Center and in other venues throughout the Chicago area free of charge to the public.

Music directors, conductors

Honors and awards

The Chicago Symphony Orchestra was voted the best orchestra in the United States and the fifth best orchestra in the world by editors of the British classical music magazine Gramophone in November, 2008.[7]

Grammy Awards

Recordings by the Chicago Symphony Orchestra have earned sixty-two Grammy Awards from the National Academy of Recording Arts and Sciences.
Riccardo Muti, music director, has won two Grammy Awards, both with the Chicago Symphony Orchestra and Chorus, for the recording of Verdi's Messa da Requiem on the CSO Resound label. Duain Wolfe, chorus director, has won one Grammy Award for his collaboration with the Chorus, also for Verdi's Messa da Requiem on the CSO Resound label.
Bernard Haitink, former principal conductor, has won two Grammy Awards, including one with the Chicago Symphony Orchestra for the recording of Shostakovich’s Fourth Symphony on the CSO Resound label.
Pierre Boulez, conductor emeritus and former principal guest conductor, has won twenty-six Grammy Awards including eight with the Chicago Symphony Orchestra and Chorus. Boulez is tied with Alison Krauss as the third all-time Grammy winner, behind Sir Georg Solti (thirty-one) and Quincy Jones (twenty-seven).
Sir Georg Solti, former music director and music director laureate, won thirty-one Grammy Awards—more than any other recording artist. He received seven awards in addition to his twenty-four awards with the Chicago Symphony Orchestra and Chorus. In addition, Sir Georg Solti and producer John Culshaw received the first NARAS Trustees’ Award in 1967 for their "efforts, ingenuity, and artistic contributions" in connection with the first complete recording of Richard Wagner's Der Ring des Nibelungen with the Vienna Philharmonic. Solti also received the Academy's 1995 Lifetime Achievement Award.
Margaret Hillis, founder and longtime director of the Chicago Symphony Chorus, won nine Grammy Awards for her collaborations with the Orchestra and Chorus.

Grammy Award for Best Classical Album

Grammy Award for Best Orchestral Performance